Album Review: 12 Sonates by Scarlatti (Vladimir Horowitz)
Alright, let’s talk about this gem—12 Sonates by Scarlatti, played by none other than Vladimir Horowitz. It’s a classical album with that baroque flair, and it feels like stepping into a time machine headed straight for France and Germany. The record label? CBS. Nothing fancy, but hey, they knew what they were doing back then.
First off, the credits are stacked. You’ve got Scarlatti on composition duties (duh), Giorgione handling the artwork, Claude Rostand dropping some liner notes wisdom, Giraudon snapping photos, and of course, Horowitz tickling those ivories like nobody’s business. This isn’t just an album; it’s practically a team effort from history itself.
Now, onto the music. There are twelve sonatas here, each one packed with twists and quirks. But two tracks really stuck in my brain—let me tell ya why.
The first is Sonate En Ré, Longo 164. Man, this one sneaks up on you. It starts off kinda chill, almost like Scarlatti’s just warming up, but then BAM—it gets all intricate and playful. Horowitz nails it, too. His fingers dance across the keys like he’s showing off at a dinner party, but not in an annoying way. More like, “Oh, you thought piano was boring? Watch this.” I remember thinking halfway through, “Wait…is this even possible?” That mix of precision and flair? Unforgettable.
Then there’s Sonate En Mi Mineur, Longo 22. This one hits different. It’s darker, moodier, like it’s telling a story you can’t quite figure out. Every note feels deliberate, like Scarlatti had something heavy on his mind when he wrote it. Horowitz doesn’t just play it—he lives it. By the end, I was sitting there like, “Whoa, okay, that was intense.” Honestly, it made me want to grab a cup of coffee and stare out the window while pretending to be deep.
You know what’s wild? Listening to these sonatas makes me realize how old-school music could still feel so fresh. Like, sure, this stuff is centuries old, but it doesn’t sound dated. If anything, it’s kind of timeless. And Horowitz? Dude’s playing makes you forget you’re listening to someone who probably wore a wig back in the day.
Here’s the kicker though—I’m no expert, but I swear I heard moments where the piano sounded almost...human. Not robotic or perfect, but alive. Maybe that’s why people still rave about Horowitz decades later. Or maybe I’m just overthinking it because I need more sleep. Either way, 12 Sonates is worth your time if you’re into classical vibes that don’t mess around.
So yeah, give it a spin. Just don’t blame me if you start randomly quoting Claude Rostand’s liner notes at parties.
